mick laBriola

50 million light-years away a quasar resides in the hub of galaxy NGC 4438, an incredibly bright source of light and radiation that’s the result of a supermassive black hole actively feeding on nearby gas and dust (and pretty much anything else that ventures too closely.) Shining with the energy of 1,000 Milky Ways, this quasar — and others like it — are the brightest objects in the visible Universe… so bright, in fact, that they are used as beacons for interplanetary navigation by various exploration spacecraft. A monstrous black hole‘s rude table manners include blowing huge bubbles of hot gas into space. At least, that’s the gustatory practice followed by the supermassive black hole residing in the hub of the nearby galaxy NGC 4438. Known as a peculiar galaxy because of its unusual shape, NGC 4438 is in the Virgo Cluster, 50 million light-years from Earth.

NGC 4438 is the most curious interacting galaxy in the Virgo Cluster, due to the uncertainty surrounding the energy mechanism that heats the nuclear source; this energy mechanism may be a starburst region, or a black hole-powered active galactic nucleus (AGN). Both hypotheses are currently under investigation by astronomers.

This galaxy shows a highly distorted disk, including long tidal tails due to the gravitational interactions with other galaxies in the cluster and its companion. The aforementioned features explain why sources differ to classify it as a lenticular or spiral galaxy. NGC 4438 also shows signs of a past, extended, – but modest – starburst,^[4] a considerable deficiency of neutral hydrogen, as well as a displacement of the components of its interstellar medium – atomic hydrogen, molecular hydrogen, interstellar dust, and hot gas.

John Renbourn (8 August 1944 – 26 March 2015) was an English guitarist and songwriter. He was best known for his collaboration with guitarist Bert Jansch as well as his work with the folk group Pentangle, although he maintained a solo career before, during and after that band’s existence (1967–1973).

While most commonly labelled a folk musician, Renbourn’s musical tastes and interests took in early music, classical music, jazz, blues and world music. His most influential album, Sir John Alot (1968), featured his take on tunes from the Medieval era.

John Renbourn studied classical guitar at school and it was during this period that he was introduced to Early Music. In the 1950s, along with many others, he was greatly influenced by the musical craze of “Skiffle” and this eventually led him to explore the work of artists such as Lead Belly, Josh White and Big Bill Broonzy.

In the 1960s the new craze in popular music was Rhythm and Blues, also the impact of Davey Graham was being felt. In 1961 Renbourn toured the South West with Mac MacLeod and repeated the tour in 1963. On returning from the South West Renbourn and MacLeod recorded a demo tape together. Renbourn briefly played in an R&B band while studying at the Kingston College of Art in London. Although the British “Folk Revival” was underway, most folk clubs were biased towards traditional, unaccompanied folk songs, and guitar players were not always welcome. However, the Roundhouse in London had a more tolerant attitude and here, John Renbourn joined blues and gospel singer Dorris Henderson, playing backing guitar and recording two albums with her.

Bennett Lester Carter (August 8, 1907 – July 12, 2003) was an American jazz saxophonist, clarinetist, trumpeter, composer, arranger, and bandleader. With Johnny Hodges, he was a pioneer on the alto saxophone. From the beginning of his career in the 1920s he was a popular arranger, having written charts for Fletcher Henderson‘s big band that shaped the swing style. He had an unusually long career that lasted into the 1990s. During the 1980s and ’90s, he was nominated for eight Grammy Awards, which included receiving a Lifetime Achievement Award.

Born in New York City in 1907, he was given piano lessons by his mother and others in the neighborhood. He played trumpet and experimented briefly with C-melody saxophone before settling on alto saxophone. In the 1920s, he performed with June Clark, Billy Paige, and Earl Hines, then toured as a member of the Wilberforce Collegians led by Horace Henderson. He appeared on record for the first time in 1927 as a member of the Paradise Ten led by Charlie Johnson. He returned to the Collegians and became their bandleader through 1929, including a performance at the Savoy Ballroom in New York City. He left Henderson to take Redman’s former job as leader of McKinney’s Cotton Pickers in Detroit. In 1932 he formed a band in New York City that included Chu Berry, Sid Catlett, Cozy Cole, Bill Coleman, Ben Webster, Dicky Wells, and Teddy Wilson. Carter’s arrangements were complex. Among the most significant were “Keep a Song in Your Soul”, written for Henderson in 1930, and “Lonesome Nights” and “Symphony in Riffs” from 1933, both of which show Carter’s writing for saxophones.

The Crab Pulsar (PSR B0531+21) is a relatively young neutron star. The star is the central star in the Crab Nebula, a remnant of the supernova SN 1054, which was widely observed on Earth in the year 1054. Discovered in 1968, the pulsar was the first to be connected with a supernova remnant.

The Crab Pulsar is one of very few pulsars to be identified optically. The optical pulsar is roughly 20 kilometres (12 mi) in diameter and the pulsar “beams” rotate once every 33 milliseconds, or 30 times each second. The outflowing relativistic wind from the neutron star generates synchrotron emission, which produces the bulk of the emission from the nebula, seen from radio waves through to gamma rays. The most dynamic feature in the inner part of the nebula is the point where the pulsar’s equatorial wind slams into the surrounding nebula, forming a termination shock. The shape and position of this feature shifts rapidly, with the equatorial wind appearing as a series of wisp-like features that steepen, brighten, then fade as they move away from the pulsar into the main body of the nebula. The period of the pulsar’s rotation is slowing by 38 nanoseconds per day due to the large amounts of energy carried away in the pulsar wind.

The Crab Nebula is often used as a calibration source in X-ray astronomy. It is very bright in X-rays and the flux density and spectrum are known to be constant, with the exception of the pulsar itself. The pulsar provides a strong periodic signal that is used to check the timing of the X-ray detectors.  2000 pc distance.

Bassekou Kouyaté (born 1966) is a musician from Mali. His band is known as Ngoni ba.

He was born in Garana, Barouéli Cercle, 60 kilometres from Ségou in 1966. At the age of 12, he started playing the ngoni. In the late 1980s he moved to the capital Bamako. Kouyaté’s debut album Segu Blue was released internationally in 2007 by Out Here Records and distributed in the U.K. by Proper Music Distribution. The album was produced by Lucy Durán. He has also appeared on a number of albums by Toumani Diabaté and has performed in several European countries. In 2010, Kouyaté has been on tour with Béla Fleck. Kouyaté’s wife, Amy Sacko, is also a successful solo artist and sings lead in his band. His father Mustapha Kouyaté was a ngoni player and his mother Yagaré Damba was a praise singer.

Rahsaan Roland Kirk (August 7, 1935 – December 5, 1977) was an American jazz multi-instrumentalist who played tenor saxophone, flute, and many other instruments. He was renowned for his onstage vitality, during which virtuoso improvisation was accompanied by comic banter, political ranting, and the ability to play several instruments simultaneously.

Kirk was born Ronald Theodore Kirk in Columbus, Ohio, where he lived in a neighborhood known as Flytown. He became blind at two years old, which he said was a result of improper medical treatment. As a teenager, Kirk studied at the Ohio State School for the Blind. By fifteen he was on the road playing rhythm and blues on weekends with Boyd Moore’s band. According to saxophonist Hank Crawford, “He would be like this 14 year-old blind kid playing two horns at once. They would bring him out and he would tear the joint up.” Hank heard him and said he was unbelievable when as a youth. “Now they had him doing all kinds of goofy stuff but he was playing the two horns and he was playing the shit out of them. He was an original from the beginning.” Kirk felt compelled by a dream to transpose two letters in his first name to make ‘”Roland”.^[2] In 1970, Kirk added “Rahsaan” to his name after hearing it in a dream. Kirk’s musical career spans from 1955 until his death in 1977. He preferred to lead his own bands and rarely performed as a sideman, although he did record with arranger Quincy Jones, drummer Roy Haynes and worked with bassist Charles Mingus. One of his best-known recorded performances is the lead flute and solo on Jones’ “Soul Bossa Nova“, a 1964 hit song repopularized in the Austin Powers films.

Idrees Sulieman (August 7, 1923 – July 23, 2002, both in St. Petersburg, Florida) was a bop and hard bop trumpeter.

He was born Leonard Graham on 7 August 1923, later changing his name to Idrees Sulieman after converting to Islam. He studied at the Boston Conservatory, and gained early experience playing with the Carolina Cotton Pickers and the wartime Earl Hines Orchestra (1943–1944). On October 15, 1947, on what was Suliman’s second recording date (source: liner notes by Michael Cuscuna to The Complete Blue Note Recordings of Thelonious Monk) he played on Thelonious Monk’s first recording for Blue Note Records. Sulieman was closely associated with Mary Lou Williamsand for a time and had stints with Cab Calloway, John Coltrane, Count Basie, and Lionel Hampton. Sulieman recorded with Coleman Hawkins (1957) and gigged with Randy Weston (1958–1959), in addition to appearing in many other situations. He toured Europe in 1961 with Oscar Dennard, and stayed, settling in Stockholm at first, and then moved to Copenhagen in 1964. A soloist with the Kenny Clarke/Francy Boland Big Band from the mid-’60s through 1973, Sulieman frequently worked with radio orchestras. His recordings as a leader were for Swedish Columbia (1964) and SteepleChase (1976 and 1985). In 1985, he was among the performers on Miles Davis‘ album Aura, which was not released until 1989. Sulieman’s career slowed down considerably in the 1990s.

IC 2497 is a spiral galaxy close to the intergalactic cloud Hanny’s Voorwerp.

IC 2497 is a former quasar, whose light lit up Hanny’s Voorwerp, which is now a light echo of that extinct quasar. It is about 45,000–70,000 light-years (14,000–21,000 pc) away from Hanny’s Voorwerp. The quasar shut down sometime in the last 70,000 years. This revises current theories of quasar operation, as the quasar is quiescent, shutting down much faster than was thought possible, and is much cooler than predicted. The galaxy is currently 100 to 10,000 times dimmer than it was when its quasar burned into Hanny’s Voorwerp. It is currently the nearest known quasar, being 730 million light years away, and the one with the best view of its host galaxy. The nearest active quasar is 3C 273, 1.7 billion light years further away.

New data from Chandra and other telescopes of a cosmic ‘blob’ and a gas bubble could be a new way to probe the past activity of a giant black hole and its effect on its host galaxy. Hanny’s Voorwerp, first discovered by a citizen scientist, is a gas cloud located next to the galaxy IC 2497. Astronomers think the giant black hole in IC 2497 used to power a quasar, generating radiation that illuminated Hanny’s Voorwerp. Within the last 200,000 years the quasar has faded. The Chandra data suggest that jets powered by the black hole have blown a bubble in surrounding gas.

Charles Edward Haden (August 6, 1937 – July 11, 2014) was an American jazz double bass player, bandleader, composer and educator whose career spanned more than fifty years. In the late 1950s, Haden was an original member of the ground-breaking Ornette Coleman Quartet.

Haden revolutionized the harmonic concept of bass playing in jazz. German musicologist Joachim-Ernst Berendt wrote that Haden’s “ability to create serendipitous harmonies by improvising melodic responses to Coleman’s free-form solos (rather than sticking to predetermined harmonies) was both radical and mesmerizing. His virtuosity lies…in an incredible ability to make the double bass ‘sound out’. Haden cultivated the instrument’s gravity as no one else in jazz. He is a master of simplicity which is one of the most difficult things to achieve.”) Haden played a vital role in this revolutionary new approach, evolving a way of playing that sometimes complemented the soloist and sometimes moved independently. In this respect, as did his predecessor bassists Jimmy Blanton and Charles Mingus, Haden helped liberate the bassist from a strictly accompanying role to becoming a more direct participant in group improvisation. In 1969, he formed his first band, the Liberation Music Orchestra, featuring arrangements by pianist Carla Bley. In the late 1960s, he became a member of pianist Keith Jarrett’s trio, quartet and quintet. In the 1980s, he formed his band, Quartet West. Haden also often recorded and performed in a duo setting, with musicians including guitarist Pat Metheny and pianist Hank Jones.

Haden was born in Shenandoah, Iowa. His family was exceptionally musical and performed on the radio as the Haden Family, playing country musicand American folk songs. Haden made his professional debut as a singer on the Haden Family’s radio show when he was just two years old. He continued singing with his family until he was 15 when he contracted a bulbar form of polio affecting his throat and facial muscles. At the age of 14, Haden had become interested in jazz after hearing Charlie Parker and Stan Kenton in concert. Once he recovered from his bout with polio, Haden began in earnest to concentrate on playing the bass. Haden’s interest in the instrument was not sparked by jazz bass alone, but also by the harmonies and chords he heard in compositions by Bach. Haden soon set his sights on moving to Los Angeles to pursue his dream of becoming a jazz musician, and to save money for the trip, took a job as house bassist for ABC-TV’s Ozark Jubilee in Springfield, Missouri.

https://www.youtube.com/watch?v=tCLoQIt6LNM

Anna Marie Wooldridge (August 6, 1930 – August 14, 2010), known by her stage name Abbey Lincoln, was an American jazz vocalist, songwriter, and actress, who wrote and performed her own compositions. She was a civil rights advocate and activist from the 1960s on. Lincoln made a career not only out of delivering deeply felt presentations of standards but writing and singing her own material as well. Born in Chicago but raised in Calvin Center, Cass County, Michigan, Lincoln was one of many singers influenced by Billie Holiday. She often visited the Blue Note jazz club in New York City. Her debut album, Abbey Lincoln’s Affair – A Story of a Girl in Love, was followed by a series of albums for Riverside Records. In 1960 she sang on Max Roach‘s landmark civil rights-themed recording, We Insist! Lincoln’s lyrics were often connected to the civil rights movement in America. After a tour of Africa in the mid-1970s, she adopted the name Aminata Moseka.

During the 1980s, Lincoln’s creative output was smaller and she released only a few albums during that decade. Her song “For All We Know” is featured in the 1989 film Drugstore Cowboy. During the 1990s and until her death, however, she fulfilled a 10-album contract with Verve Records. These albums are highly regarded and represent a crowning achievement in Lincoln’s career. Devil’s Got Your Tongue (1992) featured Rodney Kendrick, Grady Tate, Yoron Israel, J. J. Johnson, Stanley Turrentine, Babatunde Olatunji and The Staple Singers, among others. In 2003, Lincoln received a National Endowment for the Arts Jazz Master Award.

William Marcel “Buddy” Collette (August 6, 1921 – September 19, 2010) was an American jazz flautist, saxophonist, and clarinetist. He was a founding member of the Chico Hamilton Quintet. William Marcel Collette was born in Los Angeles on August 6, 1921. He was raised in Watts, surrounded by people of all different ethnicities. He lived in a house built by his father in an area with cheap, plentiful land. The neighborhood in which he grew up was called Central Gardens area. For elementary school, he attended Ninety-sixth Street School because it allowed black students. Other schools in the area, such as South Gate Junior High School, did not and Collette often felt odd entering areas primarily inhabited by whites. Collette’s family did not have a lot of money, but his childhood gave him the chance to mix with all sorts of different people. The “melting pot” of Watts framed the way he saw his position as a black man in the future.

During his first couple years of high school, Collette began traveling to Los Angeles in order to form connections with other musicians. At the Million Dollar Theatre, he and his band competed in a battle of the bands, but lost to a band that included Jackie Kelson, Chico Hamilton, and Al Adams. Afterwards, Collette was asked to join the winning band, making twenty-one dollars per week. Later, Charles Mingus joined this band. At the age of 19, Collette started taking musical lessons from Lloyd Reese, who also taught Eric Dolphy, Charles Mingus, and many others. Collette credits Reese with teaching him and the other musicians how to manage themselves in the music world. After serving as a U.S. Navy band leader, he played with the Stars of Swing (Woodman, Mingus, and Lucky Thompson), Louis Jordan, and Benny Carter.

In 1949, he was the only black member of the band for You Bet Your Life, a TV and radio show hosted by Groucho Marx. In the 1950s, he worked as a studio musician with Frank Sinatra, Ella Fitzgerald, Duke Ellington, Count Basie, Nat King Cole, and Nelson Riddle. In 1955 he was a founding member of the Chico Hamilton Quintet, playing chamber jazz flute with guitarist Jim Hall, cellist Fred Katz, and bassist Carson Smith. He also taught, and his students included Mingus, James Newton, Eric Dolphy, Charles Lloyd, and Frank Morgan. He helped merge an all-black musicians’ union with an all-white musicians’ union.

https://www.youtube.com/watch?v=SVDje5f0iP0

M66, a spiral galaxy in the constellation Leo the Lion, reveals blue star clusters, pink star-forming regions, and a vast halo of unresolved stars. This galaxy spans 100,000 light-years and is quite close, lying “only” 35 million light-years away.

Messier 66 or M66, also known as NGC 3627, is an intermediate spiral galaxy in the equatorial constellation of Leo. It was discovered by French astronomer Charles Messier on March 1, 1780, who described it as “very long and very faint”. This galaxy is a member of a small group of galaxies that includes M65 and NGC 3628, known as the Leo Triplet, or the M66 Group. M65 and M66 make a popular pair for observers, being separated by only 20′.

Airto Moreira (born August 5, 1941) is a Brazilian jazz drummer and percussionist. He is married to jazz singer Flora Purim, and their daughter Diana Moreira is also a singer.

Airto Moreira was born in Itaiópolis, Brazil, into a family of folk healers, and raised in Curitiba and São Paulo. Showing an extraordinary talent for music at a young age, he became a professional musician at age 13, noticed first as a member of the samba jazz pioneers Sambalanço Trio and for his landmark recording with Hermeto Pascoal in Quarteto Novo in 1967. Shortly after, he followed his wife Flora Purim to the United States.

After moving to the US, Moreira began playing regularly with jazz musicians in New York, including the bassist Walter Booker. Through Booker, Moreira began playing with Joe Zawinul, who in turn introduced him to Miles Davis. At this time Davis was experimenting with electronic instruments and rock and funk rhythms, a form which would soon come to be called jazz fusion. Moreira was to participate in several of the most important projects of this emerging musical form. He stayed with Davis for about two years, touring and participating in the creation of the seminal fusion recording Bitches Brew (1970).

Leonard Harold Breau (August 5, 1941 – August 12, 1984) was an American guitarist and music educator. Breau blended many styles of music, including jazz, country, classical, and flamenco. Inspired by country guitarists like Chet Atkins, Breau used fingerstyle techniques not often used in jazz guitar. By using a seven-string guitar and approaching the guitar like a piano, he opened up possibilities for the instrument.

Breau was born August 5, 1941, in Auburn, Maine, but moved with his family to Moncton, New Brunswick in 1948. His francophone parents, Harold Breau and Betty Cody, were professional country and western musicians who performed and recorded from the mid-1930s until the mid-1970s. From the mid to late 1940s they played summer engagements in southern New Brunswick, advertising their performances by playing free programs on radio station CKCW Moncton. Lenny began playing guitar at the age of eight. When he was twelve, he started a small band with friends, and by the age of fourteen he was the lead guitarist for his parents’ band, billed as “Lone Pine Junior”, playing Merle Travis and Chet Atkins instrumentals and occasionally singing. He made his first professional recordings in Westbrook, Maine at Event Records with Al Hawkes at the age of 15 while working as a studio musician. Many of these recordings were released posthumously on the album Boy Wonder.